An EP (22 minutes) consisting in a single work in three movements by composer Gerhard Stäbler, performed by the Moravian Philharmonic Orchestra conducted by Vit Micka. Nice string work moving from dissonant sharp attacks reminiscent of Psycho to very quiet textural treatments where you can hear the wood of bows on strings. A simple yet intelligent work that uses melody sparsely, to the point where the univocal opening theme is perceived as a leitmotiv once it reappears toward the end of the third movement in an ultra-quiet register. This short CD is priced as an EP, but offers all the extras of a regular Navona production (CD-Rom portion with photos, scores, etc.).

DuoJalal consists of a violist (Kathryn Lockwood) and a percussionnist (Yousif Sheronick) who plays mostly frame drums. Together they perform a surprising repertoire that blends contemporary chamber music with jazz, Klezmer, and Lebanese tradition. Note the presence of a composition by David Krakauer, another by percussion legend Glen Velez, and another by Philip Glass (with whom Sheronick has worked in the early 2000s), not to mention one commissioned from jazz bassist John Patitucci. The music is mostly sensual and an easy, pleasurable listen.

Peeesseye’s guitarist turns in a third solo album, this one a band affair. I have (imperfectly) followed Chris Forsyth’s career ever since his duo days with Ernesto Diaz-Infante. Paranoid Cat surprised me: no lo-finess, no noiseness, only psychedelic rock. The press release throws around names like Television, John Fahey and John Lee Hooker, but listening to “Anniversary Day” what I hear mostly is Popol Vuh, and it’s very good. The long title track seems a bit... long, but Forsyth develops a few good themes in it. With Mike Pride, Peter Kerlin, Hans Chew, Marc Orleans, Nate Wooley, and Koen Holtkamp, among others. The album comes out on LP and as a download in March 2011.

The debut album from the solo project of Micah Lashbrook (The Agro Puppet Show, The Laughing Man) is being released as a free download. Good indie songs recorded in spontaneous mode with extra arrangements added afterward. The delivery includes some humour, the lyrics have depth, the focus is on intensity instead of perfection. I like. “Layne Staley” and “Black Swan Song” remind me of Fulton Read, among other things. This first outing is not perfect, but it’s enjoyable - and nicely pop-sounding in its own way.